With the summer nudging 40 degrees Celsius, it’s time to put your best shades forward. As luck would have it, there’s no going wrong with trends this season when it comes to eyewear. Whether you have a soft spot for ultra-light frames with prints and embellishments, rimless glasses in geometric shapes and funky colours, or razor-sharp reflectors, everything is in. Besides meek eyes, that is. Basically, go big, or stay home.

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Trims on rimsEmbellishments glimmer and dance off the edges in this season’s eyewear, be it pearls on Gucci designs, crystal accents on Miu Miu, and 3D forms, gemstones, or even raffia on Dolce & Gabbana frames. Over-the-top frames that dodge frills can be just as striking, as seen in Tory Burch’s densely patterned frames. Meanwhile, Versace went their signature wild way in Spring/Summer 2018 (SS18) with butterfly- and baroque-print sunglasses. Whoever said less is more?

Spektre

Tints and reflectorsYou can’t hide behind sheer tints that leave the eyes open to expression. Discover an entire spectrum of colours, from shades such as Fendi’s pale pink and Sonia Rykiel’s pastel blue to more striking hues like Spektre’s military green and Dior’s acid yellow. If you prefer opaque eyewear, try reflectors from labels like Paco Rabanne or Concept Korea.

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Feline fixGlasses reminiscent of those worn by characters in the Matrix movies are big this season, especially cat-eye shapes with sharp upturned edges and smaller lenses, spotted in the SS18 collections of Prada and Céline. For a statement spin, opt for classic retro patterns or look for added details like the studded numbers from Moschino and Marc Jacobs, or Ferragamo’s colour-blocked frames.

Stella McCartney

GeometryOnce you stop purring over cat eyes, turn to Stella McCartney’s oversized octagonal shades or Jimmy Choo’s round frames with embellished edges. Korean brand Irresistor, winner at the 10th International Design Awards in 2017 for its “Biker” style, adds a creative twist to geometric design, its latest collection being inspired by a parabola, while New York label Haze’s collaborative design with Baja East in a unique palm-leaf pattern is instantly beach-ready.

Big and sportyBig statement sunglasses are having a moment, especially those with a sporty appeal. Case in point, ski aviators from Emilio Pucci, Prada’s conceptual aviators, Chanel’s “Butterfly Summer” lenses that flow over the bridge and Altuzarra’s large teardrop-shaped frames brimming with the classic aviator haute appeal.

Wire framesUltra-light frames and rimless shades with edgy cutouts are the very opposite of big statement glasses in shape, but pack quite the punch. Trendsetting designer Victoria Beckham and Hong Kong-based Percy Lau put out edgy metal bridges for SS18. Emporio Armani went colourful and rimless while Prabal Gurung turned semi-rimless on its head, with frame-free bits showcased on top with bright tints. Asian brands are also acing the trend, like China-based Renoner and Jinnnn, and of-the-moment Korean label Fixxative, which mix sharp contemporary aesthetics with fuss-free urban sensibilities.

Published in Mint Lounge, October 28 Edition
Photographs by Abhijit Bhatlekar

The passion for art began at home. Gallerist Priya Jhaveri’s parents were “obsessive collectors” of beautiful things, including modern art and antiquities, textiles, jewellery and ornaments. “They travelled widely, always including us in their visits to artist studios and galleries, and encouraged a study of the humanities,” says Jhaveri.

Since 2010, an apartment on Walkeshwar Road in South Mumbai, designed by Bijoy Jain, has been converted into Jhaveri Contemporary, a gallery showing artists across generations. Priya’s older sister, the London-based Amrita Jhaveri, manages the relationships with the estates they represent as a gallery. In Mumbai, Priya works closely with the gallery’s international artists, producing, promoting, managing exhibitions and negotiating sales, while overseeing daily operations.

The 41-year-old modern history and Spanish major from Oberlin College, US, has worked with an environmental law firm in San Francisco, collaborated with writer and filmmaker Bishakha Datta’s non-profit organization Point of View (POV) in India, co-authored a book,Unzipped: Women And Men In Prostitution Speak Out and worked as editor and project manager on books on Indian art and architecture at India Book House, before joining the art consultancy set up by her sister that evolved into the gallery.

The gallery showcases a wide range of artists, both veteran and avant-garde—currently on show is experimental film-maker Shambhavi Kaul’s work—and it forms a reference for Jhaveri’s individualistic sensibility and aesthetic values.

Priya gravitates towards understated elegance with a touch of quirk. She is dressed in Western attire for the most part. “I adore saris but I can’t tie my own sari!” she says. She has a practical approach to dressing: You are likely to find her in flats and sporting a white Swatch Skin watch. She avoids “high-maintenance clothes” for her work life, and opts for functional ready-to-wear for travel abroad, accounting for the local climate and long days at fairs. But there is always an accessory, like the chunky ivory wedding chudis she wears to add a touch of colour, or jewellery from sister Nandita Jhaveri’s eponymous line.

Shoes by You Khanga.

You might struggle to recognize the brands she wears, for she shops at local boutiques abroad for anything that catches her eye, like the You Khanga closed-toe flats (an Italian brand that works with African prints). A classic blue Acne Studios shirt is a staple and a Stella Jean dress a fun favourite, with basics from Uniqlo and Zara. In India, she tends to pick up items from Bodice, Amba, Vraj:bhoomi (for brogues) and close friend Maithili Ahluwalia’s Bungalow 8. It’s all so subtle, you wouldn’t even realize she is wearing a Chloé dress. You believe her when she quips about her personal style, “I’ve not given it much thought, so perhaps it’s effortless.”

Lounge caught up with her for an interview. Edited excerpts:

How would you describe your personal style?

I do know that style eclipses the best of wardrobes, presupposing a certain authenticity: Find comfort in your own skin, and the rest will follow. I tend to veer towards a more classic look. I’m not hugely adventurous and, depending on my mood, I can pick things that are elegant, androgynous, lazy even: I’d love to leave home in a pretty kaftan and chappals with a silver necklace thrown on.

Are you attracted to a specific palette or cuts?I gravitate towards classic cuts set apart by irregular detailing. I enjoy striking colours—orange, turquoise, sky blue, emerald—and, on occasion, patterns and prints that are graphic, playful or more delicate. I appreciate clothing made using natural dyes and fabrics and the use of traditional weaves reinvented in contemporary design.

Do you believe that a sense of style is important?Not as much as a sense of self. But if we’re thinking of style more broadly, in terms of attitude and comportment, then yes it is.

Is there any weight to the saying: style/dressing is an art form?It can be, absolutely, just like the best of television can, or a piece of writing, music, architecture or dance.

Describe your preferred outfits for work, evening and a casual setting.Lots of dresses with silver jewellery (also jewellery made with materials like coral, stone, glass) and sandals for work. If I’m working at an art fair, I add skirts and jumpsuits, with heels on the first three days and flat shoes on the last two when comfort trumps vanity. In a casual setting, I adore roomy trousers in Khadi by Runaway Bicycle.

Vintage agate and diamond earrings designed by her father Dinesh Jhaveri in the 1970s.

Describe your three best style acquisitions.

A Patola sari for its flawless double-Ikat weave. Brilliantly handcrafted, it resembles a Nintendo game with its graphic pattern sporting animals and hybrid creatures. Earrings designed by my father, Dinesh Jhaveri, in the 1970s, for their inventive use of materials like wood and crystal alongside diamonds and gold. And a classic Boucheron watch with interchangeable leather straps in multiple colours for its timeless design.

When it comes to art and fashion, do you believe in acquiring timeless pieces or the flavour of the moment?The challenge is knowing whether the “flavour of the moment” will be timeless or, equally, whether you need it to be timeless. In collecting art, my judgement sits somewhere between instinct and knowledge. It is important to make informed decisions. Supporting an artist can often be reward enough, as can an impulsive bout of retail therapy.

How important is sensibility and can you define it? Can it be acquired or is it inherent?Sadly, I can’t define it. Its importance, however, is hard to over-exaggerate. Given that sensibility covers everything that not only makes sense but also makes beauty out of the daily rough and tumble of our lives. In a different mode: I don’t think sensibility is a value that is central to art or style anymore. Most artists today respond to literary or political values. Prelapsarian aesthetic pleasures have given way to more theoretical approaches.

When it comes to style, who or what inspires you?Artist Amrita Sher-Gil, irreverence, The Sopranos, the novels of Philip Roth, the people I love and the laughter of old friends.

Published in Mint Lounge, Saturday May 27, 2017
(Additional images and content used for this post)

If you eat meat, stop reading now. If you are often accused of being a grass-eater, carry on. The eureka moment, when you realize that if you don’t eat it, you shouldn’t wear it, is accompanied by a sense of sartorial discomfort. In India, while designers flirt with the idea of cruelty-free fashion, it’s not all-encompassing. Satin clutches and beaded pouches aside, where do you find the sophisticated bag, the kind with fashion lineage and net worth, the bag that speaks a million dollars with a slight flash of its label? Where do you find a bag that isn’t nouveau riche and one which shows that you care? It may sound noble, but saying no to leather isn’t glamorous when your options are polyurethane.

Stella McCartney’s #FalabellaBox in wicker.

In 2001, Stella McCartney, a life-long vegetarian and a supporter of the People for the Ethical Treatment of Animals, took her lifestyle choice and made it a sustainable business. The British designer doesn’t use leather or fur in any of her high-end fashion products. They are cool, edgy and modern and keep the good politics alive, one animal at a time. It actually mimics leather so beautifully that you wouldn’t know the difference, unless your eye picks out the giveaway trademark metal edging (and really, with that price tag, it will keep society from judging you on the basis of your bag).

While McCartney’s classic Falabella handbag (distinguished by a braided chain detail) packs a punch, the Canadian company, Matt & Nat (Materials and Nature), came as a complete eye-opener. When it arrived in the mail (after the whole customs shindig), the vegan bag itself was sleek and functional, but what the “live-beautifully” product said was that the lining was made with 100% recycled plastic bottles (clocked at approximately 21 bottles per bag). The label is made from recycled cork, the price tag moonlights as a bookmark. They have introduced recycled bicycle tyres in their collection and on Earth day, their Instagram post noted that they have recycled over three million plastic bottles to create the linings of their bags. Unlike cheaper man-made materials, this bag lasts until you tire of it, without any difference in texture or appearance.

While their site does not publicize it, the founders are of Indian origin: Inder Bedi launched the company in 1995 after moving to Montreal to go to university and attempted to go vegan. He found his options limited, so he set out to become a game changer. Five years later, Manny Kohli, another passionate vegan, joined him, and is currently president and chief executive officer. Their office lives by the philosophy, including having monthly vegan potluck meals.

Gunas bag and wallet.

Take another instance of vegetarian-turned-vegan Sugandh Agrawal, who grew up in India and now lives in New York. Her experience with raw hide, while interning at a local handbag design firm that specialized in exotic skin handbags and shoes, led her to start her own line of vegan fashion wear, Gunas.

Grain’s stirrup tote bag.

Unlike man-made leather, ahimsa leather, which has become a topic of serious discussion in India over the last few years, is made from the hide of dead animals. Grain, started by Avinash Bhalerao in 2014, offers unisex bags. While no certification is provided, they work with 30-year-old tanneries that recycle the skin of dead animals into leather, which is the closest you can get to the real thing, without actually harming the animal.

Brands like Guess are dipping into the man-made leather initiatives—but it wouldn’t be amiss to begin thinking about sustainability, and going all the way while you are at it. It is a process of transition, as model Renee Peters explains on Ethica, an ethical fashion blog: “The hardest thing about going completely green has been doing it while being a member of the fashion industry and wanting to express my personal style. I have to work harder at curating my own look….” Go ahead, make a difference, one bag at a time. There is #NoRheson to say no.

Stella McCartney’s Falabella wallets and bags made from eco alter-nappa and the oversized Stella Popper.

KALKI Koechlin
For her unconcerned, quirky sense of fashion. And her enviable midriff

WILL NEVER WEAR An animal print leotard.

STYLE SOULMATE Gwen Stefani.

SENTIMENTAL INHERITANCE My paternal grandmother was very stylish and a model when young. She introduced me to style when I was 14 and had tons of cool stuff from the ’50s. I particularly love this burgundy-coloured velvet suit with big, puffy shoulders.

BANISH FROM BOLLYWOOD Sequins! My eyes are getting blinded!

FAVOURITE FASHION MOMENT Last year, in Cannes, when I wore Sabyasachi with a headpiece. It felt very elegant and original.

INTIMIDATED BY THE FASHION OF…. New York. I went for the first time this summer. Everyone looked stunning…so effortlessly cool, straight out of a magazine cover.

SOMETHING WE DON’T KNOW ABOUT YOU…. I have fat ankles and chubby calves. No matter how much I run, it’s like God put cotton in them. Sabyasachi’s tight churidars simply won’t fit!

PLANNED DRESSER OR NOT? Not! I am a designer’s nightmare – I call them 24 hours before my appearance…asking for something amazing.

QUICK TRICKS TO ALTER THE LOOK OF THE SAME OUTFIT One popping out colour – red or pink shoes; a jacket; a bright bag. And I love hats! While I don’t much care for jewellery, I have one statement piece – a big Mother Mary cross, that’s like a piece of clothing in itself.

INDIVIDUAL DRESSING VERSUS TRENDS You can’t escape trends. It helps you discover new things – but it shouldn’t make you uncomfortable. And yet, your personality comes out in your styling – people judge you by the way you dress.

FAVOURITE DRESSING UP SONG OF THE MOMENT Bad Girls by MIA. It’s such a cool video – really gets me going.

A YOUNG DESIGNER YOU ARE IMPRESSED BY Nimish Shah. At his recent show, I loved his opening outfit – a burgundy velvet dress with white lace.

SOMETHING THAT DOESN’T WORK FOR YOU, BUT YOU WISH IT DID Sporty clothes, tracksuits…I wish I could be like Eminem!

SARI ESCAPADES I wear a lot more saris than people know – in my theatre circle. I like hand-woven, khadi and natural fabric.

SOMETHING NEW IN YOUR WARDROBE An army jacket with big pockets from Zara.

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DRASHTA Sarvaiya
For her combination of girlish femininity and androgynous toughness of spirit

WILL NEVER WEAR An anarkali kurta.

STYLE SOULMATE Caroline Issa of Tank magazine and Because London.

SENTIMENTAL INHERITANCE My maternal grandmother’s jadau earrings made by a local jeweller in Palitana.

WOULD LIKE TO CHANGE IN BOLLYWOOD Garishness. I prefer old Hindi cinema – the ’60s films were stylish; today we consider their styles to be retro. In the future, our kids won’t consider the styling of films today retro or iconic. The character and originality is missing.

FAVOURITE FASHION MOMENT When Sarah Jessica Parker happened to see my collection in Paris and liked my clothes. She took my number from my agent – I missed meeting her, but loved that it happened.

SOMETHING WE DON’T KNOW ABOUT YOU…. I am a foolishly romantic person.

DRESSING EXPERIMENTS My dressing style depends upon my hair! With long hair I prefer bifurcated garments and trousers; with a short pixie cut I prefer more feminine silhouettes.

STYLE SECRET THAT ALWAYS WORKS A scarf, an oversized light sweater and the colour black.

CURRENT WARDROBE FAVOURITE A floor-length grey cotton dress and the rediscovery of a red silk cape from Paris that is eons old.

RECENT SPLURGE A mini cream-coloured Chloe bag from Harrods.

FAVOURITE FASHION ERA I love the 1920s. It was so sophisticated while being completely frivolous at the same time. I’m a huge fan of Josephine Baker and she was an absolute icon and in her prime during that time.

WARDROBE STAPLES A tailored jacket and a favourite white blouse for each day of the week.

WARDROBE TREASURES I only buy things that I absolutely love; it is rare that I pick stuff up out of need or necessity. For instance, I admire the way Balenciaga fits me, the unbelievable craftsmanship of my Abu Jani Sandeep Khosla pieces and the originality of prints of a David Szeto piece.

SENTIMENTAL INHERITANCE A very vintage emerald ring that my grandmother gave me.

The eagerly awaited annual Hall of Fame for India’s Best Dressed women is finally here! There are some new entries on the list, some have been here before and then there are the Perennials – those who rarely put a sartorial step wrong.

(For the complete list of the best dressed women with interviews including the ones done by Shirin Mehta see Verve’s site.)

PAYAL KHANDWALA
For reinventing herself, but remaining true to form

A FASHION NO-NO
Wearing clothes that are two sizes too small, too tight, too short, too uncomfortable and especially with the wrong type of undergarments. Clothes have to work for you, not the other way around. It’s always nice to leave something to the imagination, a little mystery is nice.

WARDROBE STAPLES
Well-fitted pair of blue jeans, a long multipurpose scarf I can wear many ways, one comfortable pair of heels and a pair of flats, a Benarasi sari, palazzos, colour blocked separates to mix and match so I can curate my own wardrobe, one wide leather belt, aviators, a string of beads and some vintage silver jewellery.

STYLISH ICONS
Audrey Hepburn, Gayatri Devi.

YOUR FAVOURITE FASHION ERAS
The grace of the ’20s, the freedom of the ’70s with the androgyny of today.

KIND OF ART (ERA/STYLE) THAT YOU CONNECT WITH YOUR FASHION STYLE
Without a doubt abstract expressionism and minimalism. Dramatic but subtle at the same time.

YOUR FASHION INSPIRATIONS
Orchestrating a palette of colour is central to my designing process, therefore especially art and some architecture. Tribal costumes and jewellery from across the world, origami and the minimalism of Japan, weaves and colours of India, flea markets and street fashion.

DO YOU LOVE DESIGNER LABELS OR HATE THEM?
I think it’s pointless being a slave of any brand. You must be your own brand. I don’t see the point in wearing something because someone made it, you must only buy it because you love it and it speaks to you in a special way.

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ANUSHKA MENON
For standing tall in her boots

YOUR SIGNATURE STYLE
Skinny jeans (jeggings) a loose tee and a pair of military boots.

THE KIND OF ART/PHOTOGRAPHY YOU WOULD CONNECT WITH YOUR FASHION STYLE
Strong and edgy.

BLACK AND WHITE OR COLOUR?
Both, but I prefer black and white.

YOUR FAVOURITE FASHION ERAS
Now.

DRESSING RULE FOLLOWED BEFORE LEAVING HOME
Try not to look like you are going to the gym!

AN OVERDONE TREND
The geek look.

YOUR FASHION SOUL CITY
New York.

YOU’RE PASSIONATE ABOUT
Living.

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IRA DUBEY
For switching over from rock chic glam to just chic

YOUR SIGNATURE STYLE
Comfy stylish with a statement accessory, less is more. I play with bright colours or lots of whites, nudes and blacks, depending on the season. I don’t like figure-hugging clothes so I generally wear looser silhouettes teamed with tights or skinny jeans.

A FASHION NO-NO
Fur in Mumbai! Sequins from head to toe. Red lips and red nails with a red outfit.

A FASHION EXPERIMENT THAT WENT WRONG
Palazzo pants (wide leg trousers) that I tried elongating with sky-high heels – which still looked all wrong because of my petite frame.

FITNESS MANTRA
Yoga three to four times a week, a walk twice a week, eight hours of sleep, lots of water and a happy healthy positive state of mind.

A FASHION SECRET
A statement accessory on only one body part. Keep the outfit simple and focus on letting that accessory shine, balance the look with killer heels and an embellished clutch and you’re good to go.

DRESSING RULE BEFORE LEAVING HOME
Perfume, well-ironed outfit and quick hair fix (which needs nurturing as it is wavy, thick and long).

CHANGES IN YOUR DRESSING IN THE LAST YEAR
Simpler, cleaner, lot more nudes, hint of sequins, longer silhouettes, more feminine. Three years ago I was more rock star chic/glam – now that’s changed!

PRECIOUS INHERITANCES
A beautiful topaz antique ring my mother bought with her first pay cheque when she was 18 and my nani’s pearl and diamond earrings.

A RECENT SPLURGE BUY
A pair of black suede ankle booties from Giuseppe Zanotti with a gold metal heel.

A RECENT BARGAIN BUY
Leather leggings from Topshop.

THINGS YOU ARE PASSIONATE ABOUT
Food, art and my cat, Alex.

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PRATIMA BHATIA
For having a staple for every occasion

YOUR SIGNATURE STYLE
I don’t have one – imagine losing the spontaneity because you have to conform to a definition!

A FASHION SECRET
Really high heels, Mumtaz Deluxe Kajal, Jo Malone Red Roses, a blow dry and I could rule the world.

YOUR CURRENT WARDROBE FAVOURITE
A Maison Martin Margiela dress with a feather vest – it’s fashion foie gras! Also a yummy colour-block cami dress from Marni and an Abu-Sandeep sari with a peek-a-boo blouse that I wore to the launch of the duo’s India Fantastique.

A RECENT SPLURGE BUY
A diamond ring from the early 1900s from a vintage boutique Au Vase de Delft on Rue Cambon in Paris.

A RECENT BARGAIN BUY
A 1960s fawn and coral Emilio Pucci kimono I got in a little boutique in Rome. And a jewel of a petit point little clutch I found in Chor Bazaar for a steal.

YOUR FAVOURITE FASHION ERAS
Today. Fashion is most empowered today – there are no rules and you can borrow bits from past eras. Imagine living with rules that dictated a whole era – how depressing!

DRESSING RULE FOLLOWED BEFORE LEAVING HOME
Madonna, a glass of Moët and a mambo in my walk-in closet.

ARE YOU A PLANNED OR SPONTANEOUS DRESSER?
I decide in the shower and it’s madness thereafter. Unless of course it’s a black tie or a sari moment. Then I plan.

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DRASHTA SARVAIYA
For her no-nonsense attitude to style

YOUR SIGNATURE STYLE
Cat eye liner.

A FASHION NO-NO
Underwear over pants.

A FASHION SECRET – SOMETHING THAT WORKS FOR YOU LIKE A LUCKY CHARM
The ’50s silhouette.

YOUR CURRENT WARDROBE FAVOURITE
Drashta’s printed pantsuit.

A RECENT SPLURGE BUY
An iPad.

A RECENT BARGAIN BUY
None!

ARE YOU A PLANNED OR SPONTANEOUS DRESSER
Spontaneous!

AN OVERDONE TREND
Hipster glasses.

YOUR FASHION SOUL CITY
Paris.

WARDROBE STAPLES
Trousers.

WARDROBE TREASURES
Currency quilted winter coats from my AW2010 line.

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SUHANI PITTIE
For always thinking vintage and always looking inspired

YOUR SIGNATURE STYLE
Relaxed. Generally layered with a waistcoat or jacket or something that completely offsets it. Lots of whites and blacks. Clean and crisp. But almost always embracing India in some way.

A FASHION NO-NO
Skimpy sari blouses with all that bling!

A FASHION SECRET
An A&T waistcoat with my jewellery, laced with oodles of sense of humour!

YOUR CURRENT WARDROBE FAVOURITE
Two. An amazing embroidered waistcoat from Anamika Khanna that I wear with everything! And a really old charms necklace that my grandmother gave me. The charms include a lantern, horse carriage, cannon, a mini clock and a mini pen. The craftsmanship gives me goosebumps!

RECENT SPLURGE BUYS
I’m not a shopper. But I did buy nearly eleven kilos of Rajasthani jewellery from Jodhpur last year. Also recently, eleven books on architecture, two on bar designing, three on light design and one on the future of car design.

FAVOURITE FASHION ERAS
Men’s fashion from the Regency era. So dapper with their cravats and tailcoats.

DRESSING RULE FOLLOWED BEFORE LEAVING HOME
To always check myself sideways. I once walked around an entire sangeet with my skirt not properly worn. Someone asked me if I was wearing a tutu!

CRAZY ABOUT
Vintage things. I can spend all my money on old fabrics and old garments and history books. And also on Anamika’s clothes, but those I never have to pay for! (That’s what sisters are for.) I’m also passionate about my DSLR and Casio watches.

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KULSUM SHADAB
For making pretty chic

YOUR SIGNATURE STYLE
I tend to focus on simple elegant silhouettes and add a statement piece of jewellery that always stands out.

A FASHION NO-NO
Never wear an outfit that’s smaller than your size and never go for a look that isn’t your age.

FITNESS MANTRA
Fitness is a way of life for me: I combine my 10k run with weight training and yoga.

A FASHION SECRET
My smile! It instantly brightens my face.

DRESSING RULE FOLLOWED BEFORE LEAVING HOME
I always make sure I’m wearing comfortable shoes.

PRECIOUS INHERITANCES
My mom’s emerald necklace, which was passed on to her by my grandmother – it’s priceless. Also, a beautiful traditional waistband from my mother-in-law, which was passed on to her by her mother-in-law…it’s timeless.

WARDROBE STAPLES
A great fitting white shirt – it’s classic chic and goes with everything, a pair of well-fitted pants, a timeless black dress, a pair of sexy yet comfortable shoes… and bold accessories. They always give your outfit ammunition – for me it is a bracelet and a standout handbag.

TOP DESIGNERS
International designers are Alexander McQueen, Emilio Pucci, Issa and Dries Van Noten. Among the Indian designers, my favourite is Gaurav Gupta.

AN OVERDONE TREND
Juicy Couture.

A RECENT SPLURGE BUY
A stunning pair of rose-cut earrings.

A RECENT BARGAIN BUY
A Chloe party bag from Maison.

THINGS YOU ARE PASSIONATE ABOUT
My family, exploring new cultures, food and fashion.

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NIAMAT BAKSHI
For knowing the difference between day and night dressing

YOUR SIGNATURE STYLE
I have two very distinct signature styles. Day: quite conservative; slim-fit jeans, flats and well-fitted button down shirts. Night: I love to ‘dress up’; body-conscious dresses that have sharp silhouettes and very high heels to finish off each look.

A FASHION NO-NO
Wearing stockings with sandals.

FASHION FAUX PAS
Trainers with cocktail dresses à la Kristen Stewart.

YOUR CURRENT WARDROBE FAVOURITE
A Haider Ackerman gold peplum jacket.

A DRESSING RULE FOLLOWED BEFORE YOU LEAVE HOME
As Coco Chanel said, ‘Less is always more’. Before I leave the house, I look in the mirror and remove one accessory to ensure that I am not over doing it.

ANY CHANGE IN YOUR DRESSING IN THE LAST YEAR
I don’t think there has been any significant change. But, I have started to wear more prints than I used to. I usually wore monochrome or two-tone dresses but I have started experimenting with designers such as Peter Pilotto and Michael Van Der Ham who are known for their digital/floral prints.

A FASHIONABLE MOMENT LAST YEAR
It was at a fashion show organised by the Taj for the revival of the Benarasi sari. I very rarely wear saris and here I wore a very traditional, hand-woven ethnic one!

A FASHION EXPERIMENT THAT WENT WRONG
As a teenager, I wore really tight leopard print pants…I thought they were really cool. Disaster!

A FASHION SECRET – SOMETHING THAT WORKS FOR YOU LIKE A LUCKY CHARM
A little black dress I found in a flea market in London for two pounds. I’ve worn it on red carpets and to formal dinners and it always works.

A FASHIONABLE MOMENT LAST YEAR
I had to make an effort for Cannes this year…I wore Dior and Sabyasachi: kind of represented my French and I
ndian background.

Indian cinema has proven with its recent offerings that it can confidently step up to the plate and serve style that matches the character and mood of the movie rather than cook up a half-baked stew of fashion and metre. As Verve pointed out last year, couture has found a definite place in Indian cinema, whether through a subtle pair of designer shades or through a statement handbag. The good news is high fashion isn’t being used as candy floss on the big screen – it’s playing a specific role. Costumiers are equally willing to turn to village threads for authenticity, or design garish, bordering-on-the-vulgar outfits for a real-life character, as they are to doll up their actors in an international label. While there may not be any path-breaking moves here, costume design 2011 has been authentic, stylish and character-oriented. It sets the stage to push the envelope further, away from the sensationalist and dysfunctional ensembles of the past. Sitanshi Talati-Parikh picks out four movies that impressed with their true-to-the-grain styling, and Verve recreates these looks with young actors Sarah Jane Dias and Sahil Shroff.

For the clothes to take a backseat for a change and let real-life fashionista Sonam Kapoor’s character shine is no easy feat. Playing a simple Kashmiri refugee in Punjab, she faces Shahid Kapoor, a small town boy, in Mausam. You find the costumes hold their weight in their sheer subtlety – from the gaucheness of Shahid’s college blazer to the sophisticated tailoring of his air force pilot outfit; his character transitions in the very seams. Sonam’s transformation from youthful girl to a mature woman is rooted in her ethnicity: even as she dons international garb when living abroad, the Anamika Khanna-crafted red gown worn in Scotland has Indian embroidery on it, and the Kashmiri embroidered shawls are reminiscent of her Indianness.

Shades change with seasons and locations: the young lovers’ innocence is portrayed with the use of whites and creams in a wintry Punjab, picking up earthy hues along the way, through geographical displacement and character maturity. For instance, Sonam’s pale Kashmiri kurtas and dupattas soon reflect the happier shades of Punjab. When the characters meet again, in the church in Scotland, they are both, once more, in white. “Colour is almost a leitmotif in the film,” says Bains. Intentionally imperfect hand-stitching on Shahid’s college blazer, ageing of clothes to show wear, a fixed wardrobe with repetitions (Shahid had one pair of jeans through the first season except for the song sequences), researching the right length for Sonam’s kurtas, having Shahid’s sweaters woven by Punjabi village folk over gossip sessions and sarson ka saag, there is a thread of authenticity and rootedness in Lovleen Bains’ costume design of Mausam that is devoid of the trappings of Bollywood sensationalism.

If last year’s Aisha had Dior handbags floating on every arm, 2011’s ZNMD makes ‘Bagwati’ a character – with her own position in the plotline. And the ostrich Hermes Kelly is styled with shades and a scarf occasionally, when the weather requires it. This is probably the first time fashion is used as a plot device in Indian cinema – an obvious barb at Kalki Koechlin’s prissy couture- conscious Natasha. Her blunt cut with sharp bangs, kitten heels, Chanel jacket and designer-everything says more than the pinched expression on her face ever could. The look is reminiscent of Molly-Ringwald-in-Pretty-in-Pink – except that unlike Ringwald’s second-hand, hand-stitched attire, Koechlin/Natasha’s clothes are an expensive combination of fresh-off-the-ramp and couture classics. In sharp contrast – as each character forms a fashion foil to the other – Katrina Kaif’s easy-going Laila philosophises in flowing dresses and tresses, easy-breezy beach wear and minimal makeup. Even a basic transformation into biker-chick requires her to wear a lightly ruffled-edged corset over jeans, always feminine and sexy.

With the boys, each actor’s personal tastes and style are visible. Abhay Deol has a naturally leggy, geeky look. The design takes it a step further for his character, Kabir, with over-the-top nerd spectacles, quirky shirts – think birds-taking-flight – teamed up with sneakers and a backpack that he hoists defensively when grilled about his life’s choices. Hrithik Roshan’s beefy look is toned down with buttoned shirts as the audience can’t be allowed to question how Arjun, a work-obsessed investment banker finds time to go to the gym while ignoring his girlfriend. (Of course, the toned shirtless body on the hoardings makes for a happy box office draw.) As the story unfolds, he loosens up, and so do his hair and styling. Farhan Akhtar is pushed further into a character scripted for him: quirky, philosophical poet, entirely boho chic. Aviator shades, loose pants, kurtas and long-sleeved t-shirts teemed with a random neck scarf and hat that he sports, on occasion, even outside the film.

Every look comes together cohesively, billed directly to director, Zoya Akhtar’s vivid visualization and stylist Arjun Bhasin’s recreation: detailed character-oriented styling and couture that slides into everyday life. We just wish it could’ve been a little more experimental – there is no room for a subtle overflow like a preppy artist, for instance. While ZNMD’s picture-perfect styling serves to
perpetuate stereotypes rather than demolish them, it does so rather appealingly.

YOUTH CULT: ROCKSTARAki Narula for Ranbir Kapoor

Polish artist Grzegorz Domaradzki set the stage with his poster sketch of Rockstar. You couldn’t help but know that the look and performance would be iconic and the movie didn’t disappoint – at least on those counts. Tight-assed Janardhan (Ranbir Kapoor) in his too-fitted jeans, too-snug sweater, too-crisp shirts and too-short hair is an obvious exaggeration to the transformation that becomes rock star Jordan. Free of inhibitions and full of angst, Jordan dresses exactly the way he feels – unfettered, irreverent, defiant and often unwashed. As he moves to his own tune, treating societal norms, business conventions and geographical boundaries in the same dismissive manner that he does anything that comes in the way of his single-minded vision, he becomes an unwilling anti-authoritarian cult figure. And to that effect, he redefines the Nehru cap as a fashion ploy. Even as detractors and politicos may shift uneasily, Kapoor makes it work.

What stand out are his wardrobe staples (often repeated in the film for realistic styling): the snazzy anti-establishment military jacket, the Qawwal jackets – a call to his Sufi leanings, the mocking feather-topped Sadda Haq police shirt, all teamed with the clever individualistic version of loose patiala pants and kurtas – ultimate comfort wear. Love the fact that there is no leather or biker rock look – so often over done and stereotypical. What impresses is the refreshing take on a rock star. Packaged with Kapoor’s long, unkempt hair, accessorised with a chain around the neck that houses his first broken guitar string and guitar pick along with other souvenirs, Aki Narula, director Imtiaz Ali and Ranbir Kapoor have visualised possibly the iconic look of the year, to be imitated and popularised by young college kids until the next grunge look rocks its way in.

RETRO RENDERING: THE DIRTY PICTURENiharika Khan for Vidya Balan

Even before the film released, Vidya Balan’s bosom encased in Niharika Khan’s suggestive designs made for feverish conversations and post the film’s release, one hears of ‘Ooh la la’ saris becoming popular commercially. If Vidya Balan has the mettle to take on an author-backed sensational role of this kind and further it with panache, then Khan has done more than her job to ensure that Balan’s character stays suitably unclothed throughout. For the racy protagonist, the costumes of the ’80s south are garish, loud and boldly uncouth – as the script intends it. The camera makes love to Vidya Balan’s unfettered body, and the clothes caress her intentionally untoned figure: you watch Balan attempting to button up her jeans over her flabby stomach with an enviably unconcerned attitude towards her generous midriff.

From the tight short dresses, the pelvis-hugging flared pants, to the cleavage-baring cholis and retro shirts, everything shrieks for attention. Where Bobby’s Dimple Kapadia and Once Upon a Time in Mumbai’s Prachi Desai conveyed youthful, shy sensuousness with their midriff baring, polka-dot front-tie shirts, Balan is unabashedly lusty and in-your-face with her wantonness in similar outfits. And yet, caught in a moment of vulnerability, Balan’s character, Silk, makes the walk of shame the morning after being dumped for the wife, attempting to shrink into the folds of her red sequined gown; but in the harsh morning light, it’s too tight for comfort or respect.

Ironically, for Silk, it’s all synthetic and the glitz of sequined make-believe. From the dull, aged South Indian cottons of Reshma’s village wear, and the lamé and brightness of Silk the superstar, to the unflattering wardrobe of an alcoholic, the clothes define every turn in the script. As Khan points out, “The film is about the character’s relationship with her clothing and body – and Balan is brave, far braver than even I could be, to take on this role.” These are the clothes of a woman whose attitude speaks more than her wardrobe, and her wardrobe merely perpetuates her freewheeling attitude. Whether Silk tries to hide or take the world in her stride, her clothes reveal her spirit and character – loud, brash, irreverent, attention-seeking, ambitious and vulnerable – and always exposed.

So haute couture is escapist fare for the masses and a note on what not to buy (since it’s too popular) for the fashionistas. Books, movies and TV serials get rank popularity because of the sequins and stilettos touted by their characters

A little discussion about the haute couture ways of popular women’s fiction led to the realisation that fashion is actually a real-life character, if not a protagonist, playing a very integral role in the lives of the others. So is the stylish drama about Manhattan’s scandalous elite, Gossip Girl, about Serena van der Woodsen and Blair Waldorf or is it about the clothes? Can you take in Serena and Blair’s striking good looks when you are busy gaping at the beautiful clothes they wear? Chuck Bass’ three-piece suits, bow ties and mirror-polish shoes are all telling you more than the actual person himself. Relationship make-ups comprise of receiving fabulous clothes in lovely big boxes. It’s not so much make-up sex as make-up sexy. Not surprisingly the fabulous ‘fashion show’ spawns off a whole bunch of shorts: Gossip Girl Couture, Gossip Girl Revealed, Gossip Girl: Faces Behind The Design, Stylish Confessions: The Fashions of Gossip Girl.

In much the same way that Sex and the City set the trend for Manolo Blahniks and Jimmy Choos to be the point of most conversation, the icing on the foot was when in SATC: The Movie, Mr. Big goes down on one knee with no ring, but a brand new Manolo in hand, and proposes. Carrie accepts, of course, and with evident pleasure slides her slender foot into the proffered Blahnik.

In Confessions of a Shopaholic, Rebecca Bloomwood is obsessed with the art of fashionable and pocket-burning shopping and to be honest, she truly falls in love with Luke Brandon when she discovers that he ‘speaks Prada’ even if adorably reluctantly. Not to forget that the pleated green scarf that started the whole relationship (and led to her being the famously anonymous ‘The Girl With The Green Scarf’) was auctioned off by credit-squashed Rebecca and salvaged by Luke and returned to her as a peace offering – a soft silky foundation to a long-lasting relationship. I mean can you love a man that doesn’t understand fashion and your love for it? Is it worth being in such a relationship that doesn’t include material indulgences of the best kind?

So, you discover that fashion now exists as a very necessary element in movies, books and TV shows. It’s not like it’s a new thing – the age of the Victorians and Romantics had their own characteristic dress elements: the cravat, the embroidered handkerchief twirled nervously, the beautiful hats entwined with ribbons, the gowns and the pearls. In fact the women, kept themselves entertained with notes, embellishments and comparisons on elements of clothes and accessories. The fact that fashion and more particularly brand names have now become hugely significant elements and often undeniably important to the viewing audience leads you to wonder what’s next? Movies are evaluated with the yardstick of their style-worthiness – people sat through SATC: The Movie (despite it being a weak cousin of the TV show) and loved it because of its high fashion elements; people ooohed and aaahed over the cinematic disaster Kambakkht Ishq because of the clothes, shoes and bags splashed across the screen. You often forget the movies, but you can’t escape the gorgeous fashion in them. It’s ominous, it’s morally unsound and deeply unsettling, but you can’t change the fact that the peep-toe stiletto, the bejewelled clutch and the silk scarf are as important (romantically) to a story as the people themselves. Sometimes even more so.

The connection between fashion and art is an old one; international trends can be written in no less than multiple coffee-table books. Verve speaks to four top Indian fashion designers who show obvious influences of art in their designs

WENDELL RODRICKS

On the connect “There has always been a connection between art and fashion. Chanel loved Cubism. Schiaparelli loved Surrealism. And Yves Saint Laurent paid tribute to many artists: Braque, Picasso, Mondrian. Art and fashion are both provocative and often intrigue the general public.”

In my designs “I have used art as an influence not just from the Western world but also from an Asian perspective. I have collaborated with Goan artist Theodore Mesquitta; and did an installation for Habitat Centre (Alka Pande). In fact, I know one day I will paint.”

Fashion as a work of art “Fashion is at the lowest rung of the pure art ladder. Our clothes certainly are a form of art. To elevate them to pure art though is being overly ambitious. Fashion can become art in the hands of Alexander McQueen or Hussain Chalayan who look at clothing and shows as art to begin with. But in most cases, fashion is not art.”

SATYA PAUL

On the connect “Anything in life has two possibilities – either you can use it to raise or lower the bar. What matters is how one takes it. Fashion is itself an art form, a medium to be used to create amazing art. Broadly seen, it is a confluence of colour, texture and form (by way of weaving, embroidery, printing, and cutting/pattern making). The importance of the two is akin to asking ‘…the importance of oxygen to life?’”

In my designs “Art is anything done with heart! In that vein we have made numerous collections over the years where art of different artists, and movements of art is the basis. Recently, Chola period brozes and Pop art have been referenced in our collections. In addition, we have explored and developed a new visual language.

GAURAV GUPTA

On the connect “Sure there is: fashion is simply commercial art.”

In my designs “I’ve always been inspired by art. Think architecture by Gaudi, movements like Surrealism, Dadaism, the art nouveau and art deco realisations. While it is nothing obvious and direct, there is a subconscious connect. Recently, I collaborated with artist Akshay Singh Rathore, taking off from his light-box installations. We’ve independently been working towards similar things – a more landscape-like feeling. Tartan checks can be rigid; with this concept, they became more fluid, draping well.”

Fashion as a work of art “Some of them are! Designs are sculpted around a body. Sculptures have a mood; and in fabric draping, construction and moulding, it is like working with clay. One of my saris for instance was displayed at the Portugal Biennale (an international art exhibition) late last year.”

POONAM BHAGAT

On the connect “Art and fashion are both intertwined. Both are highly creative fields. One uses a canvas with brush strokes or mixed media while the other uses fabrics and threads on cloth. The difference is, the latter is turned into a structured garment while the former is flat with sometimes a 3D effect. Artists have even started incorporating materials available to fashion designers in their art.”

In my designs “My spring summer 2010 collection was inspired by the works of world renowned Spanish artist Joan Miró, who was known for his very vibrant, childlike paintings and use of primary colours. I borrowed elements from his art and gave them my own TAIKA twist using vibrant appliqués and embroidery on ivory linens and cotton-silks. The recently concluded WIFW AW 10 showcased my collection inspired by abstract expressionism, a modern American art movement which took wing post World War II in the late ’40s and flourished till the early 1960s, putting New York on the global art map for the very first time.”

Designer in an art show “For me art speaks; so does fashion. The first ever group art show I participated in was organised by Polka Art Gallery at The Visual Arts Centre, New Delhi in August 2007. It was a showing of extremely eminent artists. I was the only fashion designer and the only one to create tapestries on fabric with embroideries.”

Designs as works of art “My designs are just fashion statements, to be worn and enjoyed. Not to be treasured!”

A designer bag is your chance to stalk up the social ladder. Sitanshi Talati-Parikh chats with brand consultant-turned-writer Radha Chadha about the cult of luxury

It isn’t easy to talk about luxury without moralising, particularly when you see girls ready to clobber each other with their Manolos to get their hands on 16 bags at 50 per cent off at the Gucci sale. I began wondering about the craze for luxury brands. Ironically, the answer arrived in the form of Radha Chadha and Paul Husband’s book The Cult of the Luxury Brand: Inside Asia’s love affair with luxury. Excerpts from an interview with Radha Chadha:

How did the love affair begin?
I went to Hong Kong in 1997, well before luxury brands had set up shop in India, not knowing much about them. I was fresh off the plane from India and couldn’t understand how my secretary could afford a Louis Vuitton bag! Working in an advertising agency, I invariably ended up dealing with luxury brand projects, and over a point of time I simply fell in love!

You talk about the ‘democratisation of luxury’ – isn’t that an oxymoron?
Yes it is! Most people associate the word ‘luxury’ with ‘exclusive’. The way luxury brands are marketed today, there is nothing exclusive about it. Take Japan – 94 per cent of women in their 20s have a Louis Vuitton piece. There is nothing exclusive about it in that society. When the access to luxury is there for whoever can bite into it (and luxury also becomes bite-sized), then there is democratisation of luxury.

Where is India going with luxury brands?
India has a lot of luxury, but we do not have too many global luxury brands. We have tons of potential luxury brands waiting to happen. Brands exist more in the head and heart – its all about how you present it to the world. India has yet to do that. Also, in India it is only the top end of the market that is shopping. As the Indian economy grows, the use of these products will also spread, as it has in every country.

Sex and the City, the movie, introduces the concept of renting a bag….
It’s true! What is also common is buying a bag and selling it at the same store. When the desire becomes greater than the pocket – that’s when this happens.

So, the bag is the new solitaire?
The solitaire says ‘I have got money baby’, but a luxury brand says ‘I’ve got money and a certain taste’ – it has a certain ability to express personality.

Why do people buy luxury brands?
Many people buy luxury brands for the sheer pleasure, for the quality…but in Asia I have found that people buy to prove their status in society. Almost all of Asia was poor at one point of time and had ways of marking status. Luxury brands have been around for ages, but the way they were marketed was very different. With the recognition that accompanies the right branding, luxury brands become status markers.

How did the book happen?
I have this burning desire to write. I study people, and luxury brands seemed like an interesting lens with which to study countries. It is such a rich subject – you can understand so much about human beings and behaviour and a country by the kind of things people over there do and what drives them.

Does art fall into the concept of luxury?
I have defined luxury brands arbitrarily in the book to limit the scope, as stuff on the body. So many other things like cars, condominiums, private planes, yachts and even art can fall into it. A lot of these artists are like brands (try telling them that, they will be offended!) but MF Husain is also a brand!

When Falguni married Shane Peacock, together they conjured up a funky treasure trove for the tired fashion victim. Sitanshi Talati-Parikh chats with the creative couple behind the flamboyant designer label, who work 24/7 and suffer from Sunday morning blues!

The Juhu studio is warm and snug, tastefully embellished with touches that are all Peacock. Settling myself in on an olive love seat with golf motifs, I look expectantly at Shane Peacock seated across me on an animal print settee; he appears as reticent as he is known to be. The other half of the duo – Falguni Peacock – chirpy, bubbly and innately hospitable, bustles about attending to things while talking at breakneck speed.

They could be just any newly married couple, bickering good-naturedly over minor differences, suddenly quiet, otherwise talking over each other, and completely head-over-heels in love with their three-year-old budding fashionista daughter. The conversation flows over a coffee and then some tea.

Theirs is a fairy-tale story of how a self-reliant, salwar kameez-clad Gujarati girl came upon a pig-headed, Christian boy. Ironically, Shane, who was a member of a rock band, had always fantasised about meeting a ‘propah’ traditional girl who didn’t smoke, drink, or ‘go wild’, and there she was. But Falguni wasn’t easy to woo. With a delighted chuckle, she recalls how Shane once asked her out for coffee and told her to come wearing jeans. When the usually conservative dresser obliged, he knew he had won her over.

But conventional as she seemed, Falguni was a career woman through and through. Even before she got married, she had started her own clothing label and Shane, meanwhile had also studied fashion design. It was not long after their marriage that they pooled their talents into the flamboyant and unique Peacock brand.

Their success didn’t come easy. Shane started college, studying engineering at the behest of his father, and Falguni who came from a background of chartered accountants and lawyers, was greeted with equal scepticism when she chose to become a fashion designer. In the end she settled for a Commercial Art degree to make her family happy but working in an ad agency only made her unhappy. Reminiscing, she says, “I told my father, in no uncertain terms, ‘One day I will be a really famous fashion designer’. Unfortunately, my father isn’t here to celebrate my success, but he would have been so proud.”

Shane faced similar rebuke at home when his preference for spending his days sketching outside class was discovered. Horrified at the thought of his son becoming a “ladies tailor” or even worse, being gay, his father took him to task. The rebel in Shane sprung forth and he walked out on his family. Falguni interrupts, “It is really his live wire nature that got him to where he is right now.”

Chasing those dreams, however, was easier said than done. He was forced to give up his indulgence – the rock band, he over-stayed his welcome at a friend’s house by a year and jobs were not easy to come by. It was a while before he thought about doing something on his own.

Shane drags us back to the present. “Let’s not talk about the past; it is only the present and the future which matter.” With the slightest touch of regret but no resentment, he states thoughtfully, “If I had my family’s support, I could have reached here faster. It is frustrating sometimes to think about the extra years I had to put in to get here.” Immediately distracted by his daughter, noticeably the apple of his eye, he reflects on his relationship with her, “She calls me Shane – and I like that. Calling me ‘dad’ would put that extra distance between us, which I don’t want.”

Their marriage was the turning point of their personal and professional lives. When Falguni married Shane, together they conjured up a new vision for discerning dressers. Today 90 per cent of their business comes from the international market, and the Peacocks are a global brand. Ironically, it is the Indian market that they seem unsure of. Appreciative of the attention they have been receiving nationally, they still believe that India as an organised market has a long way to go. Shane explains that selling an outwardly simple outfit for the equivalent of Rs 40,000 abroad would be no problem at all; it would be valued for the style, the cut and the label. In India on the other hand, he states matter-of-factly, “People want their money’s worth. A woman seeing a price tag of Rs 40,000 would ask for the piece to be heavily embellished so it looks like that much karigari has gone into it. Simplicity, which is really more my style, won’t work as easily here as it does abroad, at the prices we retail at.”

Falguni joins in by stating that they know their target audience, “We don’t want anyone and everyone to wear our garments. We are very selective about our clients and our stores. It is the cream of the crowd that we cater to and as long as they appreciate our work, we’re happy.” She says they would rather sell limited garments than drive volumes. It quickly becomes clear that Falguni is the hard-nosed businessperson of the two. Shane seems to read my thoughts, adding, “Falguni is the more pragmatic of the two of us, she sees the commercial viability and makes those key business decisions.” But they both agree that, “At the end of the day, you have to ensure that your work is commercial. You can’t make a masterpiece that is admired but never worn. We want it to sell, but in our style and on our terms.”

Shane strongly believes that talent alone was not the only deciding factor in their successes. Instead it is largely through smart marketing that they have been able to make themselves be seen and noticed. To promote their line, the Peacocks tried working with models, but were not happy with the results. They explain, “Models didn’t provide a value addition. You can’t identify with them, they don’t seem entirely real. Spectacular garments can’t be remembered for just that. So we decided to take on celebrities to build relevance.” That eventually turned out to be quite a marketing coup. They look at each other and smile. Falguni continues, “We set about getting the people we wanted. It was not easy convincing Manish Malhotra, himself a very successful designer, but we managed the impossible. Rita Dhody’s campaign was the most talked about. She is a flamboyant and sensual woman and epitomises glamour. Each person is very different and since we can’t change the character and personality of each, we just take their image and make it even more attractive than it is. Nawaz Singhania’s campaign was tuned into her personality; the lines were slightly more conservative, the look more accessible”.

Shane reiterates, “We want even the most ordinary looking woman to look and feel beautiful in our clothes.” As Falguni strides up to one of the racks and pulls out an outfit to demonstrate, Shane emphasises that they are known for their plunging necklines. That doesn’t mean they don’t make cover-up pieces like kaftans and such, but a large number of their designs carry their signature low necklines. “We cater largely to the kind of woman who is a lot more conscious today about fitness, health and fashion. Everyone wants to look younger and more attractive, and that’s where our necklines come in,” he laughs.

So what is their signature style? Clothes for the woman who is not afraid of going over the top. Shane deliberates and then says, “It’s all still quite new and experimental for us. Four or five years down the line we’ll know exactly what a Peacock piece is meant to look like.” They know what’s important to them, though: “Women feel slimmer and sexier in our clothes. We want a woman to show her feminine side, look like a woman, go slimmer on the waistline, let the garment flow, not be rigid. It will always be funky and distinctive.”

They’ve been echoing each other’s voices for so long, that I begin to wonder about any creative differences that they may have. “Oh, we fight a lot – on everything, but mostly work. We’re both very independent and that is what brings us at loggerheads. But our differences just seem to resolve themselves.” As Shane calls time out to talk to a friend about a trip to the Maldives, I wonder if taking time off from work helps stimulate creativity. “There are barely any holidays for us! We’re always stressed, and all of our travel is work-related. At the most we take one day off to shop (Falguni by the way, loves to shop!). We just don’t know what to do at a beach – it’s almost too stress-free. A city is the perfect place for us, like New York.” Pausing for breath, Falguni suddenly bursts into laughter and resumes, “Even on our honeymoon, in Kerala, we got bored and cut the holiday short!” Shane who finds most pleasure in spending time with his daughter Nian, adds, “Sundays bore us.”

What about giving each other space, I ask. Falguni is quick to assert, “Even if we are together 24/7, we are still doing separate things.” Shane joins in, “We handle separate factories.” As a woman though, it is difficult to manage home and work. Falguni agrees, “The baby came sooner than we had planned.” She makes a quiet mention of the fact that she owes much of her professional success to her mother, who takes care of her daughter, enabling her to keep these busy hours. They are both the creative heads of their line. “We don’t want to be dependent on assistants,” he says, and adds, “The day I feel money is more important than autonomy, I will outsource our designs to employees. That day isn’t here yet!”

So what’s in store for the future, besides more stores and new tales of success? Falguni clinches it by stating their vision, “If a person walks into a crowded room, and if what she is wearing is recognised as a Peacock from miles away, we would have achieved our dream.” Shane adds, “Some people have called us the Cavalli of the East – but we don’t want to work under anyone’s creative shadow. Our fashion house, as it will be in the future, will be sustainable enough for our daughter to carry on the tradition. We want our line to find mention among the top ten global design brands, we want to be a household name…and to live up to our unique surname, to be a Peacock is to find success in it.”